Lift High the Cross: Choral Instrumental Pak

Funderburk's arrangement treats congregational participation as a central feature rather than an afterthought, giving your choir room to support and enhance rather than dominate the assembly. The addition of brass and percussion transforms this familiar hymn into something celebratory without losing its dignity, making it equally effective as a processional, a liturgical high point, or a concert closer.

There is an unmistakable sense of lifting and aspiration here, true to the text. Nicholson's tune rises naturally, and Funderburk's instrumentation adds brilliance and forward motion without sacrificing the reverence the words demand. You hear both intimacy and grandeur coexisting.

This arrangement serves churches with choirs of any size seeking to engage their congregation actively during worship. It also works for schools, community choirs, and concert ensembles looking for sacred repertoire that allows for flexible voicing and instrumental combinations.

• Balance the organ or piano accompaniment so it anchors the harmony without overwhelming the vocal line; congregations need to hear the hymn melody clearly to join in confidently.
• Let the percussion entrance gradually build momentum rather than entering abruptly; this creates space for the brass to cut through while maintaining the hymn's reverent foundation.
• Communicate dynamic shapes with your choir before adding instrumental forces; coordinate how verses build and recede so the full ensemble moves as one.
• Consider having your choir sing select verses in parts while the congregation carries the melody, then joining them in unison for the final statement.

Program this on a concert where you need a piece that can bridge sacred and secular contexts, or use it as your anchor in an all-sacred program. It also works beautifully as the final piece in a service of lessons and carols, where its processional character and congregational warmth provide a natural closing moment.

• Singing with congregational awareness and flexibility
• Balancing choral tone with instrumental textures
• Interpreting dynamic contrast in strophic forms
• Ensemble coordination with percussion and brass parts